Blood from the Mummy's Tomb (1971) Poster

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6/10
Valerie Too Fine To Be Kept Under Wraps!
ferbs547 May 2008
It's been many years since I read Bram Stoker's 1903 novel "The Jewel of Seven Stars," but what I mainly recollect is a feeling of great disappointment; the book is all buildup, with very little in the way of payoff. The 1971 Hammer filmization, renamed "Blood From the Mummy's Tomb," can be accused of the same unfortunate misdemeanor, but still has much to offer. It tells the tale of Tera, an ancient Egyptian sorceress who had been executed back when, had her hand dismembered and her body encased in a tomb. Centuries later, that tomb is discovered by a researcher named Fuchs, whose daughter is the very image of the priestess. It would seem that Tera is about to be finally reincarnated.... Taking place in an indeterminate year (the clothing and furnishings are modern, yet the automobiles are vintage), "Blood From" boasts some mild gross-out FX (that severed hand, and Tera's many throat rippings), an interesting enough story, adequate sets and--typical for a Hammer film--fine acting from its second-tier cast. In her dual role as the "slumbering" Tera and Fuchs' possessed daughter, Margaret, actress Valerie Leon literally stands out in this cast. A stunning-looking woman even today, her, um, mUmmarian protuberances are amply brought to the fore here in any number of negligees and low-cut gowns. As Tera, she is found completely unswathed; I suppose even the ancient Egyptian priests felt that her body was too impressive to be kept under wraps! In any event, Valerie's presence is reason enough to give this film a recommendation. The film's story line presents some unanswered questions (Just how does the Corbeck character plan to control Tera once she "awakens," for instance? And that ambiguous ending is anybody's guess!), but I must say that I enjoyed this film more on a repeat viewing, with lowered expectations. It's a fun latter-day Hammer flick, shown to good advantage on this great-looking Anchor Bay DVD.
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8/10
Certainly the most voluptuous mummy ever
bygard11 May 2007
It never crossed my mind that archeology could get so sexy. The findings usually tend to have a much drier and dustier appearance. Valerie Leon has really showed new aspects to Egyptology here. In her double role as remarkably well ministered mummy of Queen Tera and Margharet Fuchs she is widely let use the two most expressive features of her physique and to steal the scenes totally without really doing anything. Her lovely eyes.

After countless variations of Count Dracula it was nice to see Hammer studios make good use of another story from Bram Stoker for a change. Mind you, the original novel 'Jewel of the Seven Stars', which this film is based on, does seem to use many of the same kind of story elements; a living dead with a curse and otherworldly powers, bringing the evil to London to be unleashed, a lunatic asylum patient closely connected to proceedings, a beauty with meaningful nightmares and so on. But it doesn't really matter, nobody here gets bitten too badly, anyway.

The film is occasionally rather slow moving and maybe a little too carelessly scripted, but it looks fantastic with the sets and props of Egyptian theme. And the loose hand of the mummy saying hi here and there brings joy every time. For the general mood the whole film seems to have a certain peculiar halo with heavily bright lighting, specially those scenes taking place towards the end. The shine of the curse coming true perhaps. Or good natured fun of silliness.
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Intellectual retelling of the mummy story
jangu24 August 2001
As almost always was the case with Hammer, this is a rather studiobound, but still lavish-looking movie (shot by the always reliable Arthur Grant who had almost a midas-touch when it came to cinematography), despite it's low budget. You also get a long list of old pros like Andrew Keir and Rosalie Crutchley in important parts plus the sultry charms of Valerie Leon, former model and star of british sex-comedys. She is not the greatest actress in the world but does a very competent job with her part, managing the sudden moodswings convincingly. The story is based on a lesser-known Bram 'Dracula' Stoker novel, filmed two more times ('The Awakening' is big-budget but does nothing with all those bucks, just manages to be mostly boring even in the murder-scenes). It does not feature the usual, gauze-wrapped, mummy but it is instead a tale of possession. It is maybe a bit talky in places, but the atmosphere is always right and menacing. Main director Seth Holt died during the last days of shooting so producer Michael Carreras had to do the scenes in the asylum and they are among the most impressive. Horrormovie-fans today will probably find this movie incredibly old-fashioned, but if you are tired of the hundreth film about Jason, Freddy or your average neighborhood slasher, give this a second glance.
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8/10
Atmosphere in spades
HenryHextonEsq24 June 2000
What struck me about this underrated picture is that it bears few of the typical Hammer features. The Egyptian theme is well used, with glittering, sombre relics prevalent; a haunting mood is evoked. The mood was similar to that of "Frankenstein: The True Story" (just as underrated a film as this)- melancholic, sparse and eerie. It is visually excellent, with effective, forboding music from Tristram Cary. The British cast prove very much at home with the dark horror of the script. James Villiers is a smooth, misguided villain, Andrew Keir gives an astute perofrmance as the sombre Fuchs, while George Coulouris and Hugh Burden are both very good at portraying their disturbed characters. The tall, elegant Valerie Leon is perfect for the dual role, with the beauty and dreamlike-quality necessary for the role of the bewitched Margaret. The setting appears to be modern, but the tone and feel of it is Edwardian. Perhaps the only element missing is humour, but when watching the film you don't really notice this; while it would be nice if there'd been more humour, it's still very enjoyable. Recommended to lovers of intelligent horror films and of atmosphere. Rating:- **** (out of *****)
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9/10
An under-rated Hammer film from the latter period.
alexanderdavies-9938213 April 2017
"Blood From The Mummy's Tomb" is one of Hammers greatest films from the latter period. This film has a better than average screenplay and with some outstanding direction from Seth Holt in his final film. Andrew Keir and James Villiers share the acting honours but Valerie Leon does well in her dual characters.

This movie deserved better advertising when it went out on general release. It was released on the lower half of another Hammer horror film.

Given the slightly troubled production, it is a wonder "Blood From The Mummy's Tomb" was made at all.

Peter Cushing leaving the production after only a days filming and Seth Holt suddenly dying about 10 days before the end of shooting,led everyone involved to believe their movie was cursed.

Michael Carraras finished the film himself after assuming directorial duties.

The end result is brilliant - a low key approach with only the necessary cast required, some fine photography and music all contribute to the film's success.

The Mummy films were never Hammers best but this one is able to infuse the familiar Mummy story with something a bit more original.
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Entertaining Egyptian horror yarn featuring the killer cleavage of Valerie Leon!
Infofreak11 May 2003
'Blood From The Mummy's Tomb' isn't one of Hammer's very best, but it's still a ripping yarn about an expedition to Egypt which inadvertently awakens the powers of an evil Egyptian Queen with disastrous results. The movie is based on a Bram Stoker novel I'm not familiar with so I can't vouch for how faithful the adaptation is, but I found it to be extremely entertaining viewing. Andrew Keir, who had previously played Professor Quatermass in Hammer's excellent 'Quatermass And The Pit', is the leader of the expedition, and the stunning Valerie Leon, best known as a regular in the 'Carry On' series, plays the duel role of his daughter and the evil Queen Tera. The movie is full of thrills and chills, a strong supporting cast (including James Villers and the wonderful Aubrey Morris), and good production values, but I must admit I was as much mesmerized by Ms. Leon's killer cleavage as anything else on the screen! Hubba hubba! 'Blood From The Mummy's Tomb' is more remembered for the so-called curse during its production, but it deserves more than that. It's yet another enjoyable movie from the underrated Hammer studios, and is definitely worth a look. And not just to perv on Valerie Leon!
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7/10
Disturbing version of Stoker's very disturbing "mummy" novel.
tonyglad24 March 1999
This is by a long way the best of the three adaptations so far of Bram Stoker's complex and disturbing novel of an Egyptologist's obsessive desire to revive an evil ancient Egyptian queen. (The novel was so worrying in 1903 that the ending was changed for the second edition: this movie keeps mainly to the original ending.) The cast ranges from competent to quite good, with the Queen/daughter suitably seductive but unreadable. The appearance is handsomely and oppressively Edwardian - the ancient Egyptian is rather silly - and the direction firm. Try this as a better taste of Stoker's obsessive psychological horror than any of the versions of "Dracula" except the long British TV adaptation.
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8/10
Beautiful…both the actress and the film!
Coventry27 January 2004
Blood from the mummy's tomb is a ravishing addition to the mummy genre…the most stylish and elegant sub genre of horror. Based on writings by Bram Stoker and produced by the British expert company Hammer ( near the end of their reign in the field ), this film is not to be missed by fans of breath-taking stories, stunning legends and historical settings. Margaret ( the astonishing beauty and hottie, Valerie Léon ) often suffers from nightmares in which she dreams about an ancient Queen of Darkness ( the astonishing beauty and hottie, Valerie Léon ). Due to the confessions of her father and his fellow Egyptologists, Margaret soon finds out that she shares a lot more with Queen Tera then just the good looks. Possessed by the Egyptian Queen and influenced by a greedy vulture-scientist, Margaret slowly becomes the resurrection of Tera. I've read quite a share of negative reviews on this film but I strongly disagree…perhaps I'm a bit biased because I love mummies and stories about the ancient Egypt, but even from a subjective point of view, I think this film belongs to the greatest last efforts Hammer achieved. James Villiers gives away the best acting performance as Corbeck. He's an unscrupulous scientist who clearly enjoys the diabolical games he plays. Lovely!! Blood from the Mummy's Tomb breaths an irresistible atmosphere and makes great use of terrific relics and settings. The film also contains a rather large amount of gruesome sequences and bloody make-up. …But, why am I typing all these things to convince you?!? Perhaps it's enough to tell you that the heavenly beauty Léon has multiple cleavage scenes!!
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5/10
Blood from the Mummy's Tomb: An odd finale
Platypuschow19 May 2018
Blood from the Mummy's Tomb is the 4th and final movie from Hammer Horrors "The Mummy" franchise and stands out from the rest due to the distinct lack of erm....a mummy!

The plot is a bit of a mess but the creators do a competent enough job of making the best of it and to their credit it comes off passable.

Starring the alarmingly beautiful Valerie Leon it barely feels like a mummy movie at all.

With the questionable storyline, the baffling ending and some seriously hokey performances it's sad to see a franchise end on such a note.

It however is not bad, it's just unusual, unexpected and an odd choice.

Passable Hammer Horror effort, but more of a standalone film than the rest of The Mummy franchise.

The Good:

Valerie Leon

The Bad:

Muddled story

Things I Learnt From This Movie:

I get the impression Valerie Leon would be a big big star right now if she were this age
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Understated horror in classic style, with fine performances
Gothick17 May 1999
This difficult-to-find gem (my copy is a bootleg--sorry about that) sorts oddly with the kind of trash Hammer studios was churning out in the early 70s--Lust for a Vampire and that sort of thing. The production seemed to be under a curse of its own--Peter Cushing was involved for the first two days of shooting but then had to leave due to his wife's death; director Seth Holt had nearly finished the film and then died of a heart attack. The final film, finished by Hammer producer Michael Carreras, was described as barely coherent in magazine reviews of the time, but makes perfect sense to this viewer. It's in the style of Don't Look Now, Rosemary's Baby, or Night of Dark Shadows--a story of the supernatural slowly seeping into a modern day setting, with fine character performances, especially from Andrew Keir, James Villiers and Rosalie Crutchley. Leading lady Valerie Leon was dubbed--not sure by whom, but the voice is effective.

This is an unusual tale for those who like subtly constructed stories with a focus upon character and atmosphere. The occasional schlock element doesn't really detract at all from the sinister thrall of the film's design.
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7/10
I'm a sucker for Egyptian mumbo-jumbo.
bensonmum222 September 2017
At the exact moment that Egyptologist Professor Fuchs (Andrew Keir) and party are opening the tomb of the Egyptian Queen of the Darkness, Tara, Fuchs' daughter is born dead in a London hospital. The two events are connected as Tara's spirit enters young Margaret Fuchs (Valerie Leon) and bring her back to life. Unaware of their connection, Margaret grows up to be the spitting image of Tara. Nearing her 21st (?) birthday, Margaret begins having unsettling dreams of Tara. Thus begins Tara's resurrection. To complete the transformation, Margaret/Tara must collect the artifacts from her tomb that are now in the possession of Professor Fuchs' colleagues who assisted in the original expedition. Collecting the objects will lead to a trail of bloody bodies, each with its throat ripped out.

Writing that poorly worded plot synopsis was much more difficult that it should have been. The problem is that the plot in Blood from the Mummy's Tomb is a mess of ideas going in several different directions. It's entertaining, but it is admittedly a mess. I quite enjoy the story, but as I've written before, I'm a sucker for Egyptian mumbo- jumbo. Throw in some hokum about an evil queen, possessed artifacts, stars aligning in just the right way, and a traveling, disembodied hand and I'll eat it up. So, despite the many flaws in the plot, none of it really matters to me as I always have great fun watching Blood from the Mummy's Tomb.

Watching the film last night for the first time in about 10 years, I realized I had forgotten much about the plot and really most everything else. One thing I hadn't forgotten was Valerie Leon. I defy anyone to watch this movie and not remember Ms Leon. I realize she wasn't hired for her acting ability, but she isn't all that bad. She may be a bit wooden in some scenes, but at worst, she's always watchable. I know Hammer used young women like Ms Leon, but at least Hammer provided her and others the opportunity to star in film. Hammer gave actresses like Ms Leon, Yutte Stensgaard, and Jennifer Daniel a chance for a role with some meat to it. None will be remembered as award caliber actresses, but all are memorable to fans in the various Hammer films/roles.

Beyond Ms Leon, the rest of the cast is surprisingly strong. Andrew Keir was a real pro and is quite good as Professor Fuchs. James Villers, as the scheming Corbeck, is a scene-stealer. He's one part smarmy and one part evil. An entertaining combination. The rest of the cast is solid with Aubrey Morris, George Coulouris, and Mark Edwards giving memorable performances.

To summarize, Blood from the Mummy's Tomb features a messy but very fun story, the memorable Valerie Leon, and a solid supporting cast. I'm keeping the 7/10 rating I gave it 10 years ago.
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7/10
A Lush & Lavish Well Acted & Directed Classic Horror Flick.
stephenabell4 August 2017
The first thing I noticed when watching this movie is the gaping distance between this and the horror movies of today. There are two glaringly obvious differences.

Firstly: Scope. This film takes you to Egypt and the tombs of the Pharaohs where we see the Queen being interred in her tomb and the rights the priest's carry out, along with the beginnings of her curse. We then move to England where the action continues between three different locations. In modern horror films, the story usually takes place in one location in one time period.

Secondly: Story. There's more going off in this film than most of today's horror. I know this is based on an actual novel where most of the modern films are based on the director's ideas. The end product can also suffer from budgetary issues which may restrict them to one location and hence hinder the story.

The other differences are acting talent and direction. I have to admit that Hammer used to get some pretty top notch actors in their films. Even the bit-parts are covered by a better-than-average cast and this is the case in this film. Due to that fact, this is a highly enjoyable and believable story that I found myself fully immersed in. It also didn't hurt that Valerie Leon is one of the most beautiful actresses on the planet and does a great job in the lead role as Margaret Fuchs and the Egyptian Queen Tera. Along with Andre Keir, who people from Dr Who: Dalek's Invasion Earth 2150AD and Quatermass and the Pit, and James Villiers this is a strong cast.

As for the directing, it was an absolute blessing not to see shaky cam. I do wish that more directors would invest in fixed and smooth-moving camera mounts. I remember there being some negative input for the Evil- Deads shaky cam through the woods - now that is some of the smoothest camera work when compared to today's efforts. Also, all the scenes are watchable in daylight. Dark scenes are lit and visible, with the director using lighting to build mood and atmosphere; the viewer doesn't have to turn off any lighting even ambient just to make out what's happening - just because a scene is shot in total darkness doesn't make it scary. There's also no grey filters, which are so overused today, everything is shot in glorious colour. This actually helps the film as it doesn't make the audience depressed and sad.

Though the special effects are outdated by today's standards they are few, as the director uses the story and the atmosphere to build up the tension, suspense, and horror. Though the effects that are used are passable. I did love the severed hand - you can't beat a good severed hand - and the constantly bleeding stub its decapitation left behind.

This is one truly lush and lavish, well shot and acted horror film which still has strength in today's horror market. I would recommend everybody to watch this film as it's one of the best Hammer released. I would even watch this one again... and probably sooner rather than later.
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Worth a look
lucyrfisher3 February 2016
Warning: Spoilers
Valerie Leon embodies a forgotten fashion era - circa 1971. Oh, those A-line midi skirts, those cinch belts, those chokers! Ancient Egyptian eye makeup had been in since Liz Taylor's Cleopatra. I like her boyfriend, "Tod Browning", who tries to stop the supernatural mayhem while driving a vintage car - you know it's not going to end happily. James Villiers is wonderful, playing a character who combines a Sergeant portrait, Lord Henry Wotton from Wilde's The Picture of Dorian Gray, Wilde himself, and Mephistopheles (from Faust). Wilde had a strange afterlife in fiction - he inspired the character of gentleman thief A J Raffles. Also good in this film is Rosalie Crutchley, with her crystal ball and strange companion - a faun-like boy with long red fingernails. Just a little Gothic touch.
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8/10
Blood from the Mummy's Tomb
Scarecrow-8812 June 2007
Warning: Spoilers
Egyptian priests, threatened by the power and proposed evil of Queen Tera(Valerie Leon), kill her and entomb her corpse(..after extracting a hand which held a red-emerald ring on one finger), but meet tragic ends for doing so. Despite being entombed, however, Tera is able to summon archaeologists to her place of rest, with Professor Julian Fuchs(a really good Andrew Keir, memorable as Quatermass in Hammer's excellent "Quatermass and the Pit")as the head of the unearthing. Each member retrieve a certain relic inside the tomb within their possession for "safe keeping" as Julian stores Tera's tomb in his carefully designed basement in his home. The key aspect to this film is that the moment Julian opened the tomb of Tera, his wife dies giving birth to his daughter who also quits breathing..yet, mysteriously Margaret's(also Valerie Leon) heart begins beating again setting in motion her link with Tera. Corbeck(James Villiers playing him quite aggressive and slimy), a key member of Julian's crew, wishes to see Tera's "rebirth" into the world as he believes he can control her with Julian's help. Tera's great power, he sees, can be used as an advantage, but Julian feels that she can be controlled by no one. We watch as she uses Margaret's human host as a means to terrorize and destroy all who were there when she was removed from the entombment and captured the relics. Margaret's beau Tod(Mark Edwards)will try to help his girlfriend as it seems Corbeck's influence on her is growing while also desiring to protect her from the danger of being harmed like the others who have come in contact with Tera's evil. But, we see as the bodies pile up with their throats torn away, that Tera may not be stopped..perhaps her evil is too powerful for anyone to control. Corbeck will try to read from a scroll, while also re-attaching the removed hand(we see, throughout the film, blood always trickling from where the hand was removed)so that Tera can return to this world. Somehow Julian and Margaret will have to fight against Tera's evil will in order to thwart her plans of returning to this world to possibly wreak havoc.

Complex, absorbing horror film might be frustrating for many because it's not a mummy film..you never see a bandaged monster running amok. Based on a novel by Bram Stoker, it's actually about evil incarnate unleashing terror against those who have discovered her or pose a threat against her plans. Everyone is fodder or vessels for Tera to use. This film is quite a challenging flick..I admired it's complexity and uniqueness from the typical Hammer horror fare. I think, despite it's faults, that this has much to offer those curious for something different. The appearance of torn throats is jarring, the performances are quite good, as always mentioned ad nauseum Leon's voluptuous breasts are certainly stare-worthy, and the ending is bleak(..nearly everyone dies)enough to make this flick quite satisfying..well, at least it was to me.
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7/10
Stoker's story given a Hammer makeover.
hitchcockthelegend10 April 2011
Blood from the Mummy's Tomb is out of Hammer Film Productions and is directed by Seth Holt. It's adapted for the screen by Christopher Wickling from the novel The Jewel of Seven Stars written by Bram Stoker. It stars Valerie Leon, Andrew Keir, Mark Edwards, James Villiers, Hugh Burden and Aubrey Morris. Music is by Tristram Cary and photography Arthur Grant. Plot sees Egyptologist's unearth the tomb of evil Queen Tera and quickly find themselves up to their necks in death and reincarnation nastiness.

Released as the support feature to Dr. Jekyll and Sister Hyde, Blood from the Mummy's Tomb became notable for its troubled production. Peter Cushing was cast as Julian Fuchs but after only one day's filming had to leave the production to be with his gravely ill wife. The part was filled by Andrew Keir. Tragedy struck the production with only one week of filming left, when director Seth Holt died on set of a heart attack, he was 48 years old. Michael Carreras (The Curse of Frankenstein/The Curse of the Mummy's Tomb) came in and took control for the last week of filming. Budgeted at just £200,000 the film was not made at the usual Hammer Studio in Bray, but at Elstree Studios in Hertfordshire.

In spite of its production problems and wee budget, this fourth Mummy offering from Hammer is surprisingly good fun. It doesn't boast the great sets that the others had, and no star wattage in the cast to grab the attention of the passer by, but it's nicely polished, well acted and has a good source story to work from. The horror elements are a little tame, yet this is offset by tight atmospherics and a dream like sense of dread that pervades the unfolding story. Nothing wrong with the acting either. Leon is one of Hammer Horror's most sensual actress' and she holds her end up well in the drama stakes too. True, the guys around her are literally playing second fiddle to her flighty, smouldering performance, but all the cogs fit where they should to keep the film totally professional.

One of Hammer's better late efforts, where the familiarity of the "revenge from the grave" plot is given impetus by good writing and smart acting performances. 6.5/10
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6/10
Valerie Leon's bazonga's, and then some...
punishmentpark4 June 2013
Warning: Spoilers
Wonderful (kitschy) atmosphere in yet another Hammer production. In the story and dialogues there's quite a few interesting ideas, more and more focusing on Margaret Fuchs and her sort of coming of age, and struggle with good and evil accordingly.

The last half hour doesn't really deliver though; some running up and down a forest and dialogues that stand in the way of horror and suspense. The very end, where Margaret is in a modern way embalmed and doomed to silence, is more funny (but not really, if you know what I mean) than anything else. Not what that fine first hour deserved.

The scene with the snake in the institution would have scared my socks off had I been younger, now it was just pretty good and atmospheric. There's also lots of gore, but especially the part with the bleeding arm was not very impressive.

All in all still a positive rating - really too bad about that final half hour.
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5/10
One Yummy Mummy!
Witchfinder-General-66617 August 2009
"Blood From The Mummy's Tomb" is a film that has its qualities - the doubtlessly most convincing one being the incredibly beautiful Valerie Leon in a double role. Yet I have to say that this film ranks among the lesser ones from my beloved Hammer Studios, as it is not very suspenseful and lacks the intense atmosphere that we all love about the films from this brilliant British production company. Based on the almighty Bram Stoker's novel "The Jewel of Seven the Stars", "Blood From the Mummy's Tomb" is one out of three Hammer films directed by Seth Holt, the others being the very good "The Nanny" (1965) and the presumably great "Taste of Fear" (1961) which I haven't yet seen. Sadly, Holt died in while he was working on this film in 1971, at only 48, and the film was completed by Michael Carreras, who must be seen as a pioneer for directing one of the earliest Eurowestern, "Tierra Brutal" in 1961. Being a huge fan of the Hammer Studios I tend to love their later films, such as "Vampire Circus", "The Vampire Lovers" or "Frankenstein and The Monster From Hell", from the early 70s especially, because they usually mix the elegant Hammer-typical Gothic atmosphere with 70s-typical sleaze and gore. This is also the case here - "Blood From The Mummy's Tomb" has some of Hammer's goriest moments - but the suspense was obviously not sufficiently focused on here. It does have some highly atmospheric scenes, but then, there are hardly any outdoor shots and typical Hammer style elements such as foggy grounds etc. appear only a few times in the film.

The film tells a very classic Horror story, of a young beauty who happens to bear a stunning resemblance to a vicious she-demon - in this case a blood-thirsty Egyptian Queen... I love classic Horror material like this, but, sadly, it isn't delivered too well here. The film isn't too suspenseful, as one simply doesn't care about the characters. Valerie Leon ("Never Say Never Again") is stunningly beautiful (and shows some flesh) in her double leading role as the Egyptian Queen Tera and the archaeologist's's daughter Margaret Fuchs. Miss Leon is truly ravishing and her presence alone easily is reason enough to watch the film. The great Andrew Keir ("Quatermass and the Pit", "Dracula, Prince of Darkness") plays her father Prof. Fuchs. Funnily, Margaret's boyfriend's name is 'Tod Browning' - a tribute to the genius director of such gems as "Dracula" (1931), "Freaks" (1932) or "The Devi-Doll" (1936), the immortal Tod Browning. "Blood From The Mummy's Tomb" has its moments - as said, Valerie Leon is by far the most convincing reason to watch it, and the film has some stylish moments as well as some very well done gory ones. However, it does get boring in-between, and that is something extremely rare with a Hammer film.

Overall it must be said that, while Egyptian Mummies are generally fascinating creatures, their representations in cinema are often quite weak. The only true Mummy-Masterpiece I've seen is Karl Freund's brilliant "The Mummy" of 1932 with the immortal Boris Karloff in the lead. My second-favorite is Hammer's 1959 remake "The Mummy" with Peter Cushing and Christopher Lee. "Blood From The Mummy's Tomb" is still 100 times better than these crappy new Mummy films which consist of CGI only, but it's definitely one of Hammer's weaker films and mostly interesting for the gorgeous Valerie Leon.
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6/10
Reasonable Hammer Horror Movie
claudio_carvalho29 January 2006
On the night before her anniversary, Margaret Fuchs (Valerie Leon) receives an ancient Egyptian ring with a red stone as a birthday gift from her father, Prof. Julian Fuchs (Andrew Keir). Margaret has frequent nightmares about an expedition in Egypt with five members, including her father, finding the tomb of Queen Tera, an evil sorcerer with a severed hand. The members collect the sarcophagus with a totally preserved mummy, the severed hand with the ring with a red stone, and three relics. Margaret is possessed by the spirit of Tera and chases the expedition members to retrieve the objects and gives life back to Tera.

"Blood from the Mummy's Tomb" is only a reasonable Hammer horror movie. The locations and the cinematography are beautiful; Valerie Leon is extremely gorgeous, with a sexy body, amazing eyes and a very beautiful face; the story is not bad; but something is missing in the screenplay to make this movie a classic. The ambiguous characters of Margaret and Prof. Julian Fuchs are quite confused, and it is not clear whether the father wants to protect her daughter or help Tera. This movie entertains, but had potential to be better and better. My vote is six.

Title (Brazil): "Sangue no Sarcófago da Múmia" ("Blood in the Sarcophagus of the Mummy")

Note: On 13 Dec 2019, I saw this film again.
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5/10
"Sometimes I think there are only two things you want me for."
utgard1413 November 2014
Let's get it out of the way: there are no mummies in this movie. The story, based off of Bram Stoker's "Jewel of the Seven Stars," is about the spirit of an ancient Egyptian princess possessing the body of an archaeologist's daughter (Valerie Leon). And what a body it is! The highlights of the movie belong to Valerie Leon. Her bountiful bosom is a sight to behold and the rest of her is nothing to sneeze at, either. Anyway the possessed woman goes around killing the people who opened the tomb of the princess. So no mummy but basically the same motivation that previous mummies had.

Andrew Keir plays the archaeologist. He replaced Peter Cushing shortly after filming began when Cushing left to care for his dying wife. As if that wasn't enough, director Seth Holt died before filming ended and Michael Carreras had to finish the movie. The atmospheric opening gives you the impression that this is going to be a spooky chiller, despite the lack of mummies. Unfortunately the rest of the movie doesn't quite live up to the strong start. The movie drags and needs a shot of adrenaline. The beauty of Ms. Leon could only do so much with this dry script and mostly lifeless direction. Another version of this story was made almost a decade later as The Awakening with Charlton Heston and Stephanie Zimbalist, who was a lovely woman but did not compare to Valerie Leon. That movie, like this one, is kind of dull. This is the last mummy movie Hammer made. Although they still had a few good movies to come, Hammer in 1971 was already on its way out. See this if you're a Hammer completist or if you just like beautiful Valerie Leon. Oh and tell me if you don't think that big ring that causes so much trouble resembles a Ring Pop.
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6/10
Neglected Hammer Egyptian horror; beset by production problems, but still worth a look
Leofwine_draca8 November 2015
Hammer's fourth and final outing into Egyptian territory is a hit-and miss-affair which is still worthwhile for the wonderful atmosphere it casts in places. The reason for the film's disjointed feel is that the production was beset by tragedy - almost as if a real life curse was at work. First off, star Peter Cushing's wife died and the actor had to be replaced by Andrew Keir. Secondly, the director of the film, Seth Holt, who had made the wonderful TASTE OF FEAR some ten years before this, suffered a heart attack, leaving Hammer regular Michael Carreras to take over the directorial duties. Thus the film seems to jump from scene to scene sometimes without any warning and there are definite issues with the pacing and general cohesion despite what should be a relatively simple plot. On the plus side, it's a lot different to the typical mummy film which involves a bandage-wrapped corpse seeking revenge, and it deserves kudos for trying something different. The film is based on Bram Stoker's novel THE JEWEL OF THE SEVEN STARS, as was 1980s horror 'epic' THE AWAKENING and the low budget '90s feature BRAM STOKER'S LEGEND OF THE MUMMY.

The actors certainly aren't at fault. Andrew Keir makes the most of his bed-ridden role although he doesn't have a great deal to work with here, while James Villiers is a memorable villain. Valerie Leon, a stunning actress familiar from her roles in numerous CARRY ON films is easy on the eye and equips herself well with the dual personae. Really, I think she's one of the most beautiful of all British actresses alongside Hazel Court and the film is almost a love letter to her sheer physical perfection. It helps that she's often dressed in little more than jewels or a negligee (depending on whether she's playing the mummy or her reincarnate victim) that ably show off her quite stunning figure.

The special effects budget is obviously low, with set-bound locales, but the gore is quite plentiful with lots of torn throats dripping blood. The budget, or lack thereof, is a sore remainder of the constrained budgets that Hammer faced at this time. There is a memorable scene involving a patient in an asylum who is attacked by mysterious forces (the best scene of the film actually) but the film suffers from an abrupt downbeat ending; it feels like this could have been expanded upon while some of the early scenes could have been excised. BLOOD FROM THE MUMMY'S TOMB isn't one of Hammer's best, but if you are looking for an Egyptian curse story that's a little different then I would recommend it as it's quite unusual compared to the rest of the company's work.
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9/10
Underrated effort with some great moments
kannibalcorpsegrinder31 October 2014
Returning home from an excavation, an archeologist's daughter finds that her resemblance to a recently-unearthed Egyptian queen's tomb allows her soul to possess her in an effort to be unleashed in the world again, and must race to stop the ceremony from being completed.

This is probably one of Hammer's most underrated features. One of its better features is that this effectively uses shadow and suggestion among the best that the studio ever tried and managing to bridge the gap between their Gothic start and the more exploitative side that was coming to the forefront. The first one is clearly the highlight, as a victim inside an insane asylum, straight-jacketed and held down, when a vicious wind begins to howl and starts blowing things around the room. He notices a snake sculpture on the wall is missing and he goes over to try to get out, but he is trapped inside when the snake sculpture's shadow on the side of the wall slowly approaches him and gets even more frantic and hysterical, and the wind picks up to hide the brutal murder that follows quite effectively. All of the shadows and other images in the film are nice uses of suspense to give the film a little something extra, just to spice up the action. The attacks at the end are the most fun with the full powers of the possessed queen put to display in a variety of locations against the attackers which allows for some frenetic action scenes to occur as the wild fight in the library, a further attack at her home and the finale which is just plain fun. The amazing sets are so eerie and striking that it really catches your eye. It also adds to the suspense of the scenes since the realism of them plays out incredibly well as they are so intricately made that it almost looks like they used ancient Egyptian props straight from a tomb and put them directly in front of the camera. The tomb is the most impressive, with the beautiful sarcophagus in the middle as the best example of this with the decorated head filled with colored jewels, the elaborate headdress, and the overall design it has is simply marvelous with the large hieroglyphics on the walls and looks very nice. It really does look like an actual Egyptian tomb inside up to Hammer's usual high standards. Even the kills were pretty good as always going for the jugular is a nice adaptation to give the killer, making for some nasty kills along the way even if it doesn't provide for any creativity. However, it allows for a lot of blood to flow, as this is one of the bloodier films from Hammer. There weren't a lot of kills in the beginning, but once this got rolling, they came fast and furious. Finally, Valerie Leon is one of the better and busty heroines of the Hammer staple, spending a lot of time in the film wearing negligee, and sometimes less, so this is something many red-blooded males will want to see. There's not a lot to dislike from this one, though it is probably one of the slower entries in the series so it takes a while to get going. Once it gets going, it's not that bad, but for a mummy film we don't see the mummy in the film all that often. Even more so, it isn't a mummy in the traditional sense that we know of, covered in layers of moldy bandages and shuffling about. Here, not only is it rarely seen, but it isn't the traditional mummy, so fans may be disappointed with it if it's a blind buy based on the title.

Today's Rating/PG-13: Violence and Brief Nudity.
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8/10
No moldy old mummy in this fine thriller!
Ospidillo27 January 2008
Warning: Spoilers
In this 1971 Hammer Films entry, we get the "reincarnation of the Egyptian Princess theme," but with a certain caveat -- there's no "bandaged-wrapped mummy" to avenge her or to drag her off at the end of the movie! Directed by Seth Holt, this is a fine horror flick with all the great set and location ambiance that we've come to expect from the British-based Hammer Film Company. It's shot in letterbox and the color saturation is most pleasing, as it punctuates the impressiveness of all the Egyptian sets and icons.

The story, conveyed somewhat in retrospect, is that of a British expedition that unearths a tomb in which is found a perfectly-preserved princess (or "mummy" for this one), except that her hand has been lobbed off and the disembodied hand has a nice ring on one finger. The expedition falls under a bit of a curse (always bad to open these sacred tombs) and these paranoid tomb-raiders ultimately disband and scatter like dried leaves in the Autumn. But when the expedition leader gives his daughter the ring, which he conveniently cobbed from the tomb, the trouble really begins.

The large ring's stone has embedded within it a star alignment (which looks amazingly like The Big Dipper!) and that star alignment is, of course, when the reincarnation of the Princess is to begin. And did I mention that this gal who got the ring looks EXACTLY like the Egyptian Princess? It's so and the original expedition members begin to fall like flies when she subsequently visits them.

There aren't any heavyweight actors in this film but I was pleased to see Aubrey Morris (as Dr. Putnam) who also played the birdwatcher ("Quince") in a great old B&W Avengers Episode, "Silent Dust". Morris was a fine actor and, albeit his role is a small one here, his toothy performance adds to the film's overall appeal.

In the larger picture, the sets and locations are terrific in this film and the casting is spot-on. The film doesn't drag anywhere and I enjoyed it from beginning to end. It's one that fans of older horror films will enjoy watching over and over.
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3/10
Dull supernatural horror film from Hammer without a bandage in sight!
poolandrews1 April 2005
Warning: Spoilers
Blood from the Mummy's Tomb opens in Egypt. An evil Egyptian sorceress named Queen Tera (Valerie Leon) is lying in a sarcophagus, some Egyptian priests cut her hand off with an axe. They take the severed limb outside & give it to the dogs to chew on, but the hand is still alive & starts crawling around. The priests finish the ceremony and seal Tera's tomb. Outside they are terrorised by what looks like a sandstorm that rips all their throats out. Cut to Margaret Fuchs (Valerie Leon as well) waking up, it was all a nightmare as her Father Professor Julian Fuchs (Andrew Keir) comforts her. The filmmakers make sure we notice that Margaret has a red scar like mark on her wrist. The next morning Professor Fuchs gives his daughter Margaret a beautiful ring for her upcoming birthday, at the centre of which is a large brilliant red ruby. Margaret plans on spending the day with her (lucky) boyfriend Tod Browning (Mark Edwards) who takes an immediate interest in Margaret's new ring. Tod assumes that it is from Professor Fuchs expedition to Egypt many years ago & decides to take it a friend named Geoffrey Dandridge (Hugh Burden) to try & find out more about it. When Geoffrey sees the ring he becomes very nervous & agitated, when he sees Margaret he nearly has a heart attack. They continue to investigate the ring as strange occurrences begin to happen, it turns out that Professor Fuchs, Dandridge along with Corbeck (James Villiers), Professor Berrigan (George Coulouris) & Helen Dickerson (Rosalie Crutchley) were all members of an expedition to the tomb of Queen Tera in Egypt. There, they found the perfectly preserved body of Tera & her severed hand from which Professor Fuchs removed the ring. At the exact same moment they discovered the body of Queen Tera Margaret was born back in London. Margaret looks exactly like Queen Tera & starts to take on the characteristics of Tera as she becomes possessed by the evil Queen's spirit who uses her body to gather an artifact from each team member she needs to revive herself completely!

Initially to be directed by Seth Holt but was finished by Micheal Carreras when Holt died of heart failure before filming was completed. The script by Christopher Wicking based on the Bram Stoker Novel Jewel of the Seven Stars is far too slow & dull, especially the final half of the film. It also ditches the expected Mummy in bandages for a unexciting, awkward & underdeveloped supernatural angle. I was uninterested in anyone or anything on screen & the story just didn't captivate me. I thought Blood from the Mummy's Tomb was a generally poor film throughout except for a few half decent sequences & the undeniable on screen presence & beauty of leading lady Valerie Leon. None of the familiar Hammer stars are present, the sets look extremely cheap & fake with an awful looking English studio bound Egypt during the opening sequence & several flashbacks. Tera's tomb is also severely lacking as the hieroglyphics on the wall look like they were painted by a primary school art class. I'm not sure what sort of look the director & production designer Scott MacGregor had in mind with the look of Blood from the Mummy's Tomb, it appears set in 70's London with some of it's fashions & locations especially Tod with his clothes & swanky flat. Yet there are scenes where it looks as if Hammer wanted the film to be set in Victorian times, like their Frankenstein's & Dracula's. Some of the medical equipment used, the mental asylum that looks more like a prison with it's cells for patients, some of the interior shots of Fuchs house plus the clothes Professor Fuchs & Dandridge wear also make me feel that the filmmakers were in two minds about the look of Blood from the Mummy's Tomb. Surprisingly there is a fair amount of blood & gore, Tera's severed hand keeps turning up, shots of Tera's stump at the end of her arm pouring with blood & quite a few ripped open throats. One more thing, the film is set in London but Tera was found in Egypt & Professor Fuchs now keeps her in his basement. So how did Fuchs get a sarcophagus with a body that looks like they died yesterday in it & still bleeding through customs? Overall I really didn't think much of Blood from the Mummy's Tomb, maybe I was expecting too much but ultimately I found the film as dull as dishwater & nothing during it's 90 plus minute running time particularly stood out as being enjoyable (maybe expect Valerie Leon's brief nude scene!) or entertaining as far as I'm concerned. Hammer have made much better horror films, see one of those instead.
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"Easily the best of Hammer's mummy franchise."
jamesraeburn20038 December 2004
Professor Fuchs (Andrew Kier) and his team of Egyptologists uncover the mummy and tomb of Tera, an evil ancient Egyptian princess who was murdered centuries ago by a group of priests. At the moment the team entered the tomb, Fuchs's daughter Margaret (Valerie Leon) was born and she grew up in the same image as Tera. Several years later the members of the team who remain obsessed with the dead princess start dying in horrible ways and Margaret is clearly possessed by her spirit.

Hammer's mummy franchise had never been all that strong from the word go, but this was their final attempt to re-think the genre and it is easily the best of the lot. Director Seth Holt was assigned to direct, but sadly his alcoholism lead to liver failure and he died before he could finish the picture and Michael Carreras (son of Hammer chairman Sir James) took over the directing reigns. Holt did fine work on Hammer's Bette Davis thriller THE NANNY (1965) and his visual style and sense of narrative pacing distinguishes this picture, but when Carreras took over, the last half hour seemed rather heavy handed in comparison. Still it remains the most stylish of all Hammer's mummy pictures and Arthur Grant who died the following year displays some of his best lighting here.
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There's no mummy, but there's blood, a tomb, & Valerie!
armstror14 September 2001
This satisfying Hammer chiller falls somewhere between the studio's finest films (e.g., "Brides of Dracula") and its lame fillers (e.g., "Curse of the Mummy's Tomb"). The story moves slowly at times, but the brooding atmosphere works well. Andrew Keir, who was marvelous as the intrepid Professor Quatermass in Hammer's "Quatermass and the Pit," has too little to do (he spends a lot of the film unconscious). Fortunately, Valerie Leon, who plays his daughter, generates plenty of interest. This stunning beauty delivers an interesting performance and, well, she looks terrific in all those nightgowns. It's a shame Hammer didn't use her in other films.
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